The Director

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Transcript of The Director

The DirectorCore concept – the director's determination of the most important of the many images, ideas, and emotions that should emerge in the play.High concept – the director's unique perspective for productionPreparationThe interest of the DirectorThe interest of the intended audienceThe capability of the director/producer to acquire, conceptualize, and produce the play.Play SelectionConceptualizing CastingAuditions actorsCold readingsCall backsDirector/Designer CollaberationCommunicates ideas about the production, begins a conversation with all of the designersProduction meeting throughout the design processThe director is always expanding and clarifying his vision for the designersMay include inspiration pieces/photos/boardsDesigners will also provide groundplans, drawings, photosStaging - Stage businessPresentingCoordinating - coalescing all of the details for the performance including the design, the acting, the mood, etc.PacingActor CoachingLeads discussions, improv, researchHelps the actors stay on track with the "core concept" or storyHelps to create craft "excellence" and artistryGives the actors a careful balance of guidance and freedomStaging - BlockingThe DirectorConcerned with all artistic aspects of productionDecides upon interpretation of script and production concept to shape stagingCore ConceptHigh ConceptCasts and rehearses the performersWorks with the designersIntegrates all elements into a finished productionThe ScriptThe starting point for most productions. The director figures out the "spine" of the play.Initial questions:What is the basic story? What translation is best?How might the play's events and their arrangement affect a live audience?Should the script be cut?What is the significance of the play's time and setting? Should these be altered?Analyzing and Studying the ScriptRead the play several times to become familiar with overall qualitiesNote structural patternsDivide the play into segments or units (BEATS) defined by entrances/exits or major changes in character motivationNote emotional reactions or images inspired by scriptDefine the through line or spine of actions that hold the play together and determines it's overall thrustStudy CharactersNote scenic, costume, and lighting requirementsAnalyzing and Studying the Script Cont.Consult sources beyond the script to:Understand the author's point of viewExplore the cultureal environment and contextRead what critics and reviewers have written about the play and about previous productionsResearchAnalyzing and Study the ScriptConceptThe director may distill his/her interpretation of the pay into a production conceptProduction concept

= a short statement that conveys the director's vision for the productionProduction concept is an

organizational tool for the production teamThree Common ApproachesLiteralThe director serves the playwrightThe script is transferred as literally as possible from page-to-stageRetain time and place specified in the scriptFollow the playwright's staging precriptions closelyTranslationThe director's goal is to capture the spirit of the scriptMay depart from playwright's specificationsMost common approachUsually indentifies a metaphore, analogy, dominant theme, or set of conventions that will shape the productionAuteurScripts are seen as raw material that the director feels free to reshape as neededThe director is the principal creative forceAt its most extreme, it eliminates the playwright altogether.The Director/Designer RelationshipThe production's focus should be clear to allThe director must relate any specific demands to designers, such as:Shape of setSpecific mood lightingGarments with specific featuresAfter initial meetings, designers must be allowed time to conceive their designsThe Director/Designer RelationshipDesigns are then considered and various questions are explored:Do the designs project the production concept adequately?Do they fit the play's action, mood, theme, and style?How do the lighting, costume, scenic, and sound designs complement each other?Can designs be achieved within budget, personnel, and time constraints?Designs are approved and then executed.Working with ActorsDirector's supervise rehearsals, ideally working collaboratively with actors to give life to the playThroughout the process, directors assess the work of the actor and make suggestions for improvementDirectors who work effectively with actors are:Tactful and understandingCritics, Teachers, and FriendsSensitive listeners and observersTHE DIRECTOR'S MEANSStage imagesVisual composition:Creates beautiful stage picturesForms images that convey situation emotional content, and character relationships. Each moment of performanance =An image bearing a messageDevices for Composition and EmphasisProscenium:

Position of performers on stage, height, stage areas, spatial relationships, contrast, visual focus, and through costume, lighting and scenery.Thrust and Arena:Height, spatial relationships, contrast, visual focus, and through costume, lighting and sceneryDifficult to compose visual images that are expressive from every point of viewFocus on constructing images from a variety of angles throughout the performanceMovement, Gesture and BusinessDominant impression of performance is movement: flow, change, developmentFunctions of movement:Emphasizes by catching the eye and directing attentionCharacterizesClarifies situationBuilds scenes to climax, provides contrast, establishes tempoMay be indicative of dramatic type or style3 Main Types of MovementMovement from place to place = blockingGesture = gesture, facial expression, bodily attitude (body language)Business = physical activities such as arranging flowers, duelingVoice The medium for speech, song, or nonverbal vocal soundVoice and SpeechThe Director's 4 main concerns1 - Dialogue should be audible and comprehensible

2 - Vocal qualities should be appropriate to character

3 - Inflection and volume should not only be appropriate to character, but also to situation andmeaning

4 - Tempo and rhythm should vary appropriately in accordance with changing dynamics of action

REHEARSING THE PLAYThe role of imaginationGenerally, scenery, costume, lighting, and props are not available until the final days of the rehearsal period; rehearsal space is seldom the actual performance spaceRehearsal spaceUsually a large roomGround plan of set taped out onto the floor; multiple sets indicated with various colors of tapeTemporary props and rehearsal costumes usedPHASES OF REHEARSAL1 - Usually devoted to reading and discussing thescript2 - Usually devoted to blocking = establishing each performer's movements from place to place and each performer's bodily position ateach moment.3 - Usually devoted to deepening the actor'sunderstanding of the lines and blocking.4 - Usually dedicated to ensemble playing and shaping the action for overall effect5 - Final phase = integrates all elements of the production. When the production opens, director's job endsThe Director's AssistantsThe director may have several assistants who:Take notes during rehearsalAttend production meetingsServe as a liaison with designersCoach actors and rehears scenes with performersProduction Stage Manager:Most indispensable assistantRuns the show at each performanceCompiles the prompt book during the rehearsal process, which becomes the blueprint for the performance